Viewpoints: Difference between revisions

Revision as of 10:50, 29 December 2023

Revision as of 11:27, 29 December 2023

Line 70:

==Lineage and Influence on Viewpoints==

It is possible to trace several historical influences on Mary Overlie's Six Viewpoints, and subsequently on Anne Bogart's and Tina Landau's Viewpoints.<ref>{{cite journal |last1=Davidson |first1=Andrew |title=Identifying Eurhythmics in Actor Training: The Viewpoints of Time and Space |journal=Le Rythme: The Artistic Identity of Eurhythmics |date=2021 |volume=2021 |page=11-18 |url=https://www.researchgate.net/publication/354474914_Identifying_Eurhythmics_in_Actor_Training_The_Viewpoints_of_Time_Space}}</ref> There is a family resemblance between the non-hierarchical nature of the nine Viewpoints and the spiral or scaffolded nature of the Dalcroze Subjects in Dalcroze Eurhythmics.<ref>{{cite web |title=Dalcroze Eurhythmics |url=https://en.wikipedia.org/wiki/Dalcroze_eurhythmics |publisher=Wikipedia |access-date=29 December 2023}}{{circular reference|date=December 2023}}</ref> This practice was disseminated in New York City's dance and theatre scenes by Elsa Findlay in the early- to mid-twentieth century.<ref>{{cite journal |last1=Odom |first1=Selma |title=Researching Elsa Findlay: Dalcroze Teacher, Choreographer, Writer |journal=Le Rythme: Scientific Perspectives; Artistic Research and Theory |date=2019 |volume=2019 |page=11-22 |url=https://fier.com/wp-content/uploads/2023/05/Le-Rythme-2019-Webversion.pdf}}</ref> Elsa Findlay was a graduate of Emile Jaques-Dalcroze's Hellerau Institute in Germany prior to the First World War.<ref>{{cite journal |last1=Davidson |first1=Andrew |title=From Hellerau to Here: Tracing the Lineage and Influence of Dalcroze Eurhythmics on the Family Tree of Theatre Pedagogy |journal=Arts |date=August 2023 |volume=12 |issue=4 |page=7 |doi=https://doi.org/10.3390/arts12040134}}</ref> Martha Graham studied with Findlay, and Overlie acknowledges the impact of her own studies with Graham.<ref>{{cite web |last1=Overlie |first1=Mary |title=Biography |url=https://www.sixviewpoints.com/mary-overlie |website=Six Viewpoints |access-date=29 December 2023}}</ref> Overlie also studied with José Limón who was a student of Doris Humphrey.<ref>{{cite web |last1=Overlie |first1=Mary |title=Biography |url=https://www.sixviewpoints.com/mary-overlie |website=Six Viewpoints |access-date=29 December 2023}}</ref> Humphrey was another pupil of Elsa Findlay who made significant contributions to dance-theatre and established ''Plastique Animee'' in the USA.<ref>{{cite web |last1=Dale |first1=Monica |title=American modern dance, visualisations and plastique anime |url=https://www.musikinesis.com/article-in-le-rythme/ |website=Musikinesis |access-date=29 December 2023}}</ref> Additionally, Suzanne Bing's ''Musique Corporelle'' contains a series of nine musical elements for actor training that bear a strong family resemblance to the nine Viewpoints.<ref>{{cite bookthesis |last1=Kusler |first1=Barbara |title=Jacques-Copeau’s Theatre School: l’Ecole du Vieux-Colombier, 1920–1929 |date=1974 |publisher=University of Wisconsin |___location=Madison |page=115 |formatdegree=PhD thesis}}</ref>

==Works cited==